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Biderman, Into the Wild (West): Philosophy and Cinematic

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Biderman, Into the Wild (West): Philosophy and Cinematic Volume 9, No 2, Fall 2014 ISSN 1932-1066 Into the Wild (West): Philosophy and Cinematic Mythmaking Shai Biderman Tel Aviv University, Israel [email protected] Abstract: Two recent monographs that demonstrate the power of philosophical engagement with cinematic genres and the cinematic capacity for mythmaking, Hollywood Westerns and American Myth and Ride, Boldly Ride, are here argued to make an innovative contribution to the view that film is "philosophy in action," and that the American Western is a crucial genre in which to see this at work. They do so by arguing both that philosophical practice can find a relevant object in this cinematic genre, and that the Western as a cinematic genre makes unique contributions to philosophical practice. Kevin Stoehr and Robert Pippin show that by raising questions of identity, self-manifestation, and the affirmation of existence, Westerns present us with an innovative form of philosophical scrutiny that reveals how the audience understands itself and creates a philosophical presentation of the American myth. Keywords: Cavell, Stanley; film as philosophy; myth; cinematic genre; comedy of remarriage. The cinematic genre of American Westerns has long yet differently organized, expand on similar thematic been the focus of interdisciplinary interest. While grounds, which, as such, sets them apart from other usually fulfilling the scholarly passion of film-scholars, more traditional works in philosophy of film. These historians, and social scientists, the recent emergence works share the somewhat subversive understanding of a philosophical engagement with the Western genre according to which any philosophy of the Western genre deserves renewed attention. For what, if anything, does is, at the same time, a philosophy manifested by the philosophy have to say about the cinematic genre of Western genre. In other words, it is the cinematic genre the Westerns? What is it about this genre that begs for a itself—as a cinematic phenomenon of certain attributes philosophical handling, beyond the mere obviousness and qualities—that philosophizes its various contents. of text-analysis, the re-affirmation of philosophical The genre is not merely a subject matter in the hand arguments and cultural values, or the re-articulation of an inquisitive philosopher, but an active force—an (through an illustrative test case) of one film theory or aggregation of motions, images, camera angles, various another? shot types, landscapes, settings and narratological These questions are answered, in a most intriguing and innovative way, in two recently published monographs.1 These publications, equally captivating Political Philosophy, New Haven, CT: Yale University Press, 2010 [henceforth cited as HW]; and Mary Lea Bandy and Kevin L. Stoehr, Ride, Boldly Ride: The Evolution of the 1 Robert B. Pippin, Hollywood Westerns and American American Western, Berkeley, CA: University of California Myth: The Importance of Howard Hawks and John Ford for Press, 2012. [Henceforth cited as RBR] Shai Biderman, "Into the Wild (West): Philosophy and Cinematic Mythmaking," Existenz 9/2 (2014), 45-49 First posted 11-28-2014 46 Shai Biderman tropes—which, as such, create an aesthetically formed In the case of cinematic genres, the idea of cinema stance, to be comprehended philosophically. exhibiting a new brand of thinking provokes a "shock Triggered by Stephen Mulhall's controversial to thought" (as Gilles Deleuze, a founding father of film- phrase according to which film is (or can be) "philosophy philosophy, puts it),4 as the unique powers of genre-qua- in action,"2 the idea that cinema (or a cinematic genre), by genre has often been overlooked or underappreciated. nature of its predisposed attributes and artistic oeuvre, So far, the philosophical engagement with cinematic can exhibit thinking on its own course, has captured the genres as such resided primarily to questions like attention of film scholars, filmmakers, and philosophers those that enquire after the ontology of the genre, the alike. This idea has become theoretical reality in the classificatory nature of genre or genres, the idea of contemporary emergence of film-philosophy. As a hybrid genres, the conditions of genre, and the role of challenge to the hegemony of grand theory and to the viewer's expectations in the articulation of genres. With superiority of verbal (descriptive) discourse of analytic Stanley Cavell, an Anglo-American counterpart of philosophy, film-philosophy rejects the asymmetric Deleuze, the idea of genre as a medium—namely, the relations embedded in "the philosophy of X" paradigm. idea of genre as an independent and autonomous mode This paradigm, to quote Robert Sinnerbrink, is of contemplation in the realm of cinema—has taken that according to which "philosophy conceptually center stage in contemporary debate.5 A genre, claims analyzes and theorizes its object precisely because the Cavell, is an independent medium, which, as such, latter cannot do so."3 Undermining this traditional conveys meaning, engages in aesthetic contemplation, misconception of art's power to philosophize, film- and exhibits a distinctive grammar. For Cavell, the sub- philosophers offer a new approach to the intersection genre of American comedy films of the 1930s and 1940s between film and philosophy, in which one is liable (which he calls "comedy of remarriage") and the genre to acknowledge an autonomous cinematic thinking, of romantic melodrama (which he tags "the melodrama existing independently without the need to be of the unknown woman") are those that exhibit the most translated into recognizable forms of philosophical engaging philosophical potential, and are therefore argumentation in order to sustain a thought. The film- predominant cases of cinematic thinking. philosophers—the holders of this new approach—thus Cavell's reasons for favoring these genres are breaks away from the traditional view of film theory, most indicative to those supporting the philosophical and, correspondingly, from the conventional way by reevaluation of the Western genre. According to which philosophy of film has been practiced. They Cavell, the comedy of remarriage recounts the coming create a thematic barricade against the traditional back together of a couple that rekindles their love questions and investigatory techniques, and present a (which has always been there) by first facing, and then new approach to the nature of film as well as to that overcoming, divorce. The female protagonist in this of philosophy. By uttering substantially different genre undergoes what William Rothman articulates as presuppositions regarding both the uniqueness of a form of a "spiritual quest." Creating herself anew, she cinema and the characteristics of the philosophical is then embraced by her renewed partnership, gaining experience, film-philosophy becomes "an alternative a mutual acknowledgment throughout the process.6 approach that combines aesthetic receptivity to film Contrarily, in the genre of melodrama, the woman seeks with philosophically informed reflection", and, as fulfillment outside marriage. Hence, the melodrama, such, is "a way of aesthetically disclosing, perhaps also which is adjacent to the comedy of remarriage, can be transforming…our experience of the modern world" seen as a mechanism of negation, undermining a theme (NPF 3). Similarly, it is a way, an incentive (one can say), for philosophy itself "to reflect upon its own limits or 4 Gilles Deleuze, Cinema 2: The Time-Image, London: even to experiment with new forms of philosophical Athlone 1989, pp. 156, 189-224. expression" (NPF 7). 5 Stanley Cavell, The World Viewed: Reflections on the Ontology of Film, Cambridge, MA: Harvard University 2 Stephen Mulhall, On Film, New York, NY: Routledge Press, 1979. 2008, p. 2. 6 William Rothman, "Cavell on Film, Television, and 3 Robert Sinnerbrink, New Philosophies of Film: Thinking Opera," in Stanley Cavell, ed. Richard Eldridge, New Images, London; New York, Continuum International York, NY: Cambridge University Press 2003, pp. 206- Pub. Group 2011, p. 7. [Henceforth cited as NPF] 38, here p. 212. http://www.existenz.us Volume 9, No. 2, Fall 2014 Into the Wild (West): Philosophy and Cinematic Mythmaking 47 "that hinges on the threats of misunderstanding and my mind, another most indicative reworking of Cavell's violence" which embody the happiness of the comedies.7 account, as it combines and conjoins our scientific What is tellingly unique in these two genres, knowledge with our tendency towards the imaginary according to Cavell, is their shared focus on human fiction, thus reinventing the genre as a philosophical relationships and mutual acknowledgement. In quest. Consequently, the unique collision between the remarriage comedies, the "war between the sexes" is a substantially real and the imaginary fiction makes the struggle for mutual recognition. The female protagonist Sci-Fi film genre, according to Vivian Sobchack, the takes on a quest of self-identity, which begins by her best cinematic candidate to emphasize the "actual, "thinking of her own existence," then "announcing of extrapolative or speculative science and the empirical her cogito ergo sum," and finally, moving from "haunting method" (SS 53). As such, this genre symbolizes "the the world to existing in it." Complementarily, in the radical alteration of our cultures' temporal and spatial "melodrama of the unknown woman," this quest takes consciousness" (SS 223), and for that reason, Daniel a less comic, and somewhat
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